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663652 Posts in 26588 Topics by 3815 Members - Latest Member: ILikeTheBeachBoys October 31, 2020, 03:30:40 PM
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Author Topic: Are there any Party! session photos?  (Read 2139 times)
SaltyMarshmallow
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« Reply #25 on: October 01, 2020, 10:14:38 AM »

I noticed in the "party" photos Al has a really thin-necked instrument in one and a 12-string in another. What's the thin one?

It's a tenor guitar, 4 strings.
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guitarfool2002
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« Reply #26 on: October 01, 2020, 12:47:44 PM »

I noticed in the "party" photos Al has a really thin-necked instrument in one and a 12-string in another. What's the thin one?

http://smileysmile.net/board/index.php/topic,20324.msg537870.html#msg537870

http://smileysmile.net/board/index.php/topic,20324.msg537877.html#msg537877

Yes, it was a Martin 0-18 tenor. I should have clipped in a photo showing the headstock more clearly, but it's definitely a Martin. Here is a video with another folk musician who worked with the We Five playing Nick's actual Martin tenor that he gave away in 1967. You'll hear the sound this kind of tenor guitar makes and how it fit into the Trio's guitar sound by watching this clip, the last few minutes:

https://www.youtube.com/watch?v=sE1mbcEN8vw

It looks like Al is playing a similar model Martin, are there more photos of Al with it?



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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
Mitchell
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« Reply #27 on: October 01, 2020, 09:09:20 PM »

Neat, thanks!
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SaltyMarshmallow
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« Reply #28 on: October 07, 2020, 05:09:11 PM »

On other uses of Studio 2, how about something like the Let's Go Away for Awhile overdub? Could you even seat 12 string guys plus some woodwinds in 3?

Some other candidates I'm wondering about are two Heroes and Villains sessions, December 19 '66 (large string mystery date doubtless including the acetate Great Shape) and Feb 15 '67 (Prelude to Fade). The latter is huge, and I don't hear close to the same level of intense leakage that's all over God Only Knows, which is the only other Western session besides Guess I'm Dumb that rivals it for numbers. It'd be 19 people crowded in the room too - no electric guitar from the booth.

Bruce's Bluebirds basic track is another I'd completely forgotten about.

Edit: Anyone know where that shot of the Sid Sharp strings in the Smile book/LLVS was taken?
« Last Edit: October 08, 2020, 12:28:47 AM by SaltyMarshmallow » Logged
Tom
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« Reply #29 on: October 07, 2020, 06:20:16 PM »

Wish they'd taken photos of more...musically consequential sessions.

They still give us some insight into their recording approach I'd say - namely the use of the Shure 545 as a vocal mic, which Brian reportedly then used for most of his Pet Sounds leads.
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« Reply #30 on: October 15, 2020, 09:00:44 AM »

Brian's Facebook account just posted pictures from the Party! sessions.








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« Reply #31 on: October 15, 2020, 09:43:05 AM »

These are great pics, thanks for posting them here!
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« Reply #32 on: October 15, 2020, 06:00:25 PM »

Pretty small room in that first shot - so I'm guessing Studio 3, which was where the first two Party! sessions occurred, with engineer Don Blake.
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SaltyMarshmallow
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« Reply #33 on: October 16, 2020, 02:39:08 AM »

Yeah, the walls and the shape of the room mark it as 3, so it's those photos with Brian in his hat and more Pet Sounds-y hair that must be in 2. Completely different setup to the 1966 footage, so that's something.
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« Reply #34 on: October 16, 2020, 09:38:15 AM »

What a great shot, looking through the glass into Western 3.  Imagine that room with the number of people in there present, plus about 10 more people and you get a feel for how packed it'd be for some of the larger sessions.
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« Reply #35 on: October 16, 2020, 01:40:39 PM »

Having toured the studio and stood in that room, I know how crowded it would be. That place is about the same size as a one-car garage. It's a squeeze to get past the recording console to enter the room. It's a cozy space.
« Last Edit: October 16, 2020, 01:42:13 PM by Emdeeh » Logged
SaltyMarshmallow
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« Reply #36 on: October 16, 2020, 02:13:08 PM »

Then try to imagine all of those musicians huddling between a grand piano, upright piano, harpsichord, Hammond organ with Leslie cabinet, celeste, probably some percussion, and whatever everyone carried with them on the day. It's hard to wrap your head around God Only Knows and H&V Prelude cramming 18 or 19 people in there.

Some great footage I hadn't seen til recently: https://youtu.be/-Q3mL3QhfKY
« Last Edit: October 16, 2020, 02:21:13 PM by SaltyMarshmallow » Logged
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« Reply #37 on: October 16, 2020, 06:34:53 PM »

Y'know, that's almost exactly the size of my home studio. I'm not gonna worry about it being tiny any more - size DOESN'T always matter!  Smiley
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« Reply #38 on: October 16, 2020, 07:37:32 PM »

Y'know, that's almost exactly the size of my home studio. I'm not gonna worry about it being tiny any more - size DOESN'T always matter!  Smiley

It's about 15 by 32 or so.  The ceiling is slanted but averages about 12 feet.

I think it's important to note that while size doesn't always matter, there's a lot about that room (and most other great studio live rooms) that is not visible, or is not obvious.  What you see as the room is actually more or less a room inside a room -- acoustically isolated from the rest of the building and with a fair amount of air and/or acoustic material between the walls that you see and the superstructure of the building surrounding that room.

Also, at that time the philosophy about wall treatments was to have it super dead at sort of seated mic level (you can see in the photo how it's all white acoustic tile from about chest height down) and then adjustably reflective at standing mic level.  That's the wood-grain looking material above chest height.  Then the acoustic panels would modulate that reflective surface down to acceptable levels, while still allowing a certain liveness about the room for when people are standing to sing.  The portable screens and goboes help regulate this even more and provided absorption and to a much lesser extent isolation.  You can see how the screen behind the bass amp in that shot or the screens at the back of the studio are not there to isolate anything, but there to help frame the space and keep things pretty neutral to dead, acoustically around the band.

Would literally kill for a picture of the GOK setup.  I'd do the prison time, too.
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c-man
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« Reply #39 on: October 17, 2020, 06:34:56 AM »

Y'know, that's almost exactly the size of my home studio. I'm not gonna worry about it being tiny any more - size DOESN'T always matter!  Smiley

It's about 15 by 32 or so.  The ceiling is slanted but averages about 12 feet.

I think it's important to note that while size doesn't always matter, there's a lot about that room (and most other great studio live rooms) that is not visible, or is not obvious.  What you see as the room is actually more or less a room inside a room -- acoustically isolated from the rest of the building and with a fair amount of air and/or acoustic material between the walls that you see and the superstructure of the building surrounding that room.

Also, at that time the philosophy about wall treatments was to have it super dead at sort of seated mic level (you can see in the photo how it's all white acoustic tile from about chest height down) and then adjustably reflective at standing mic level.  That's the wood-grain looking material above chest height.  Then the acoustic panels would modulate that reflective surface down to acceptable levels, while still allowing a certain liveness about the room for when people are standing to sing.  The portable screens and goboes help regulate this even more and provided absorption and to a much lesser extent isolation.  You can see how the screen behind the bass amp in that shot or the screens at the back of the studio are not there to isolate anything, but there to help frame the space and keep things pretty neutral to dead, acoustically around the band.

Would literally kill for a picture of the GOK setup.  I'd do the prison time, too.

Yeah, I'm lucky enough to have a house that came with a pre-built acoustically-treated studio (which was the main selling point for me). While the tracking room doesn't have a slanted ceiling, both it and the control room are built as a "room-within-a-room" - on a foundation of hockey pucks, no less! The control room (much smaller than those at Western) has a trapezoidal ceiling, and a big glass window separates it from the tracking room. In the tracking room, there are sound-absorption panels from about waist level down, and double doors on the one entrance into the tracking room, and both entrances into the control room. Guess the builder knew what he was doing!
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SaltyMarshmallow
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« Reply #40 on: October 17, 2020, 06:59:07 AM »

Earlier posts in this thread made me go back and compare the scale of the different studios, and it surprised me that Desper gave the measurements of Brian's as 40 x 27, not including the deck over the garage. I guess it was a mansion, but when I think 'home studio' I have to keep manually reminding myself that it was quite a bit bigger than the room where they did 90% of their professional recording until '67. And it was slightly larger than Western 2!
« Last Edit: October 17, 2020, 07:00:31 AM by SaltyMarshmallow » Logged
guitarfool2002
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« Reply #41 on: October 17, 2020, 10:13:16 AM »


Some great footage I hadn't seen til recently: https://youtu.be/-Q3mL3QhfKY

So that Mamas and Papas footage - That's the Western 3 footage I posted about here back in 2011 and later in 2012 after digging deeper with what was available at the time. I guess others have filled in more of the info, but it was an hour-long documentary that first aired February 24, 1967 on ABC titled "The Songmakers". It was later rebroadcast in July 1967. The reviews were mostly positive, although I'll post a less-enthusiastic one in the next post because of the size.

United/Western/UA even mentioned it in their employee newsletter, which I'll also post. At that time it wasn't common to have engineers and studio staff featured on TV programs, not to mention the free advertising they got for their studio business, no less showing an actual session in Western 3 featuring Hal Blaine, Joe Osborn, Tommy Tedesco, and the usual gang who played for Lew Adler, Papa John and Bones Howe (also featured). It was a pretty big deal for early 1967.

It still is a big deal because apparently no copies of the full broadcast are circulating. According to a post on the clip, one full copy exists in the Paley Center archives, but is unavailable for viewing or something. The M&P footage in that clip was aired as part of an M&P documentary which I think was shown on the A&E network years ago, which is where I first saw it. There is footage of Mike Bloomfield playing with Butterfield at a college party gig that is up on some Bloomfield fan sites, but if there are other copies of the other artists' appearances they're not widely seen or circulated.

So it would be amazing to get a full copy at some point. Once you see the list of artists who were featured, I think everyone will agree.

And this ties in to that same early '67 period just before Pepper and the Summer Of Love schtick where TV networks and news divisions were taking a more serious look at pop music, and trying to bridge the gap between the different music worlds that existed, since the music was doing that very same thing and selling like hotcakes. It wasn't kids music versus adult music, because the kids were using "adult" musical ideas in their music, and the adults were taking their own sounds from the "kids" to sell more music.

And then there was Brian Wilson, and The Beatles, featured on "Inside Pop" for CBS aired in April '67 just under two months after ABC had a hit with "The Songmakers" in late February '67. The whole point of these shows was to take a hard look at music for music's sake, and to show how "the kids" making pop music were not making disposable fluff but instead had something to say both musically and socially. And they were making millions in the process.

What a great time for music, and at least we can watch "Inside Pop" as a complete broadcast. Maybe someday "The Songmakers" will show up in full too. I'll post the article snippets separately, check out that lineup...
« Last Edit: October 17, 2020, 10:18:17 AM by guitarfool2002 » Logged

"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
guitarfool2002
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« Reply #42 on: October 17, 2020, 10:16:00 AM »











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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
SaltyMarshmallow
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« Reply #43 on: October 17, 2020, 10:28:19 AM »

Oh wow, a 15 minute segment? And it's not available to watch anywhere? If you'll excuse me I gotta go curl into a ball in my wardrobe
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guitarfool2002
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« Reply #44 on: October 17, 2020, 10:36:29 AM »

15 minutes of a M&P session in Western 3 with Hal and the gang recording a new tune...AND footage of Burt Bacharach and Hal David finishing writing their new song for Dionne called "I Say A Little Prayer" in a living room.   Shocked

Holy Grail material for sure. Maybe someday "The Songmakers" will be released publicly, along with the full 45 minutes of Brian recording "Good Vibrations", of which roughly 4-5 minutes has been seen publicly so far. Such a damn shame.
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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
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« Reply #45 on: October 21, 2020, 10:20:08 PM »

Dunno if I missed it but are there any photos of the Party sessions that have Dean Torrence in them.
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